Linda’s vid: predictions of the media future…

Linda has found a youtube video which talks about a lot of the things we discuss in Transient Spaces. It’s interesting and daunting at the same time… the line that struck a cord with me was the idea that everyone is a prosumer (producer + consumer). So what then is the future role of media professionals? It’s so cliche to mark out your ground on a dying trade, but seriously… did we choose the wrong profession?!

Feedback

Linda gave me feedback on an earlier version of my draft exegesis (revised version here). I was actually really touched that she spent the time considering my work (as jumbled as the thing I’m calling “work” was, poor thing!) and also a little surprised that someone with minimal knowledge on my research area was so able to give really useful feedback. In fact, her feedback was perhaps even more useful for being outside of my little world of chaos and giving cause to rethinking things that seemed logical in my head, but which are maybe not so.

Linda advised some inclusion of the research inevitably necessary in getting a radio piece aired on ABC, including their codes of ethics as well as other production constraints and needs such as length, style etc. I’ll revisit this later. 

She also pointed out that I haven’t made it very clear that it will be a radio production and not a visual production. Looking over my draft I can see that this is quite a valid point. I can also see that I started to write a sentence explaining why, but my train of thought moved faster than I could type. Basically, after doing my own searches and also asking Kyla Brettle, an industry professional and lecturer, there appears to be a significant lack of resources exploring radio features of any type, let alone as specific as radio documentary. Still, after reading about ethical issues arising out of film documentary it is already clear that there are many parallels to be made. Actually, I can also see a danger in an easy assumption that since radio does not work with visual representation, which is most heavily critiqued by writers, that radio is somehow more ‘pure’, more likely to reveal the voice of the so called “subject”, which, frankly, is bollocks. Precisely because of this misconception and trust of radio, combined with a medium in which editing is perhaps more invisible (think of the ability to reconstruct people’s words), the necessary trust an interviewee must give, the integrity with which a producer must practice and the power dynamics at play are crucial elements for interrogation in any feature which aims to represent a story in-line with the participants own objectives.

Which brings me onto Linda’s next point. Am I investigating the power play between the producer and subject or investigating representing ethnic groups in a way that truly represents their notions of ’self’?. This is a great question but a very difficult one for me to answer. So, as usual, here is the conveluted answer!

As I’ve just stated, for me power is so entwined with representation that my gut feeling tells me that being critically aware of the power play in orthodox documentary is necessary in investigating alternative methods of building a representation which attempt to be closer to notions of the participant’s ’self’. By orthodox documentary Dennis O’Rouke’s Cunnamala is a useful case is focus. O’Rouke makes no apology for his belief in documentary as his art, his perspective, and therefore that creating a representation of of the world as he sees it is his right. Which it probably is, even though ethicist have a problems with his work and approach. It would be probably be my right too, but it is not my desire or aim. The story of William Cooper and the contemporary ramifications is not my story, and I’m not even wanting to borrow it as some writers claim their practices as.

The question is then, how do I go about being a producer of a story which I never want to claim ownership to? Is it possible and what methods bring us closest to making this happen?

Next, Linda picked up on my reluctance to use a few key words. The first one was Documentary. I’ve already said that I plan to critically analyse the problematic power dynamics in orthodox documentary and am looking instead to participatory production methods to create a story. Leaving aside the question of truth for a moment (because no where so far have I even begun to discuss the perspectivism alive an well within both traditional documentary and any other constructed and mediated representation) if you are not practicing documentary methodology, is it still a documentary? Is the term still appropriate? In pointing out the flaws for its application in this context, how can I then continue to use the term? I’ve begun using “Feature” as an alternative here and there but I think I need to mull over that a little more. Perhaps rejecting the term means I’m creating a comfortable lie for myself, in denial but still involved with the same dilemma (though hopefully a little less naive).  

Another uncomfortable concept is ethnography. I don’t consider this project to be ethnography; its not a good story because its about a culture or an ethnicity. Yes there are two cultural groups or communities involved and yes their cultural background is a relevant aspect, and yes this brings into play some existing ethical debates, but this project is not about saying ‘they the other’ are interesting because ‘they’ are different and therefore there is a story about them that should be told. Having said that, ethnographers have grappled with significant ethical issues around othering, representation and power with some applications for consideration in critiquing documentary practice. This is why despite my reluctance, there are some references to writing with origins in ethnographic themes.  

The exegesis is fast becoming a mammoth thesis of itself but I think it will be possible to point so huge topics such as Orientalism and Othering without necessarily needing to go through the complicated arguments surrounding it. Rather, this exegesis will look, for example at how Said’s work has changed the ethical context within which practioners work. It will look at the Enghel’s model of participatory methodologies within the same framework, that of Communication for Development, and discuss the methods which apply to a project: a) in Australia, b) involving both Jewish and Koorie participants, and, c) in radio production rather than film, as well as those that don’t.

Enghel considers the importance of dissemination and it is here I think it will be relevant to have a more detailed discussion of what it means to choose a broadcaster like the ABC in advance as a preferred channel of publication, their industry requirements, and how this influences the production process.

I predict other challenges will arise and be explored in the action-reflection aspect of the project, such as the actual dynamics of participatory methodology; do participants feel comfortable to be part of the process? How does it feel to be a producer in this dynamic? How does it effect choices made? Do producer and participant have differing emphases on narrative and self ie. is the participant concerned (reasonably when you think about it) concerned with how their voice sounds, how do you navigate differing priorities in a participatory environment?

And I think I’m back where I started. The aim. I think there are two, both of which I share with the primary participants involved; We want this feature to be heard to the widest, most relevant audience possible becasue social and political motivations which requires a content rich, technically and structurally strong production. We also all hope to feel comfortable with representations created, keeping in mind that, as a media form, these will necessarily always be artificial representations.

Big Big thanks to Linda! 

A Mental Break-through

I’ve finally been able to organise my ideas into some segments. This is a huge mental relief as I can start to order all the stuff going on in my head into a literate response rather than garble. Soon, (I’m very much addressing Adrian here) I should feel comfortable to show my ideas to peers for feedback.

My exegesis will argue that a new approach to feature production is needed, especially when working in cross-cultural narratives. The questions that it will seek to answer, therefore, are:

Why is a new approach needed? For me personally the understanding that in most cases orthodox productions fail has been building throughout my undergrad studies. Looking at the problems of authenticity, truth and power through Post-Colonialism (mainly Orientalism from Said), Documentary Studies, particularly those moving closer towards ethnography, Communications for Development and finally through Indigenous Studies. Included here should also be Whiteness Studies, which though I’m not entirely familiar with, focusses its enquiery on the “Whiteness” of the agency and the role this plays in dynamics, more than say in minority studies where this aspect is ignored.
This exegesis clearly does not have the space to examine each of these intensively, but will be informed by the arguments made. Much of this work references Flaherty and Vertitov.

What will the different approach be? As alluded to some of the types of alternative methods in the abstract, words such as “participatory”, “collaborative”, “negociated”, “consultative”. In answering this question I think I will draw on Florencia Enghel’s work quite heavily, which is informed by Communication for Development paradigms of participation towards meeting a participant’s or participating community’s own goals. Enghel sets out aspects where the ego of the film-maker can be reduced, such as in decisions over content (who/what to include, how to include them, what the narrative will focus on), editing (how representations are constructed), and dissemiation. She also, from a pedagogic background, is keen for teaching of skills to take place and for self-reflexivity in the style.

How does this work (or not) for Synergy? Initially I felt that this section would mainly include production notes and reflective-action research. But there are perhaps aspects which are relevant already.

More on that later, I’m off to yoga class to test my latest theory: If your brain is stressed and exhausted and your body is not your life is imbalanced. For more balance in life, exhaust your body as much as your brain and you will sleep better.

lost

I feel a bit lost with the 1000 word draft set for this week. I’m used to having a plan for an entire paper which becomes more and more detailed, and constantly rearranged as new research is found and then filling in the gaps towards the end as I’m about to hand it in. Whenever I sit down to write it feels like a complete waste of time and uncontrolled jibberish is all that appears on my screen.

Onto happier topics, last week was very productive in lots of ways as I had a meeting with a few of the people who will be involved in the project and some others as its seems that it is the right time for this project to happen. There is this ground swell of interest at them moment, people are hearing about the William Cooper’s work and wanting to see something come of it. Its really wonderful to see and to be a part of. Although I can’t publically say anything at this time, I think the radio project is just one part of great things to happen in Victoria throughout this year.

Last week was a confidence boost in other ways as well; at an ABC breakfast I felt for the first time that I have some meaningful opinions to offer in a discussion around media and the future. I think as an undergrad and as an Honours student its beaten into us that we have no authority and can only justify a point of view based on other people’s arguments. I went to the event thinking I would have very little to say, that I would be way out of my depth but I think I found myself to be an active participant in the discussion which was a fantastic feeling.

Well, best get back to the words…

A Thesis

“A thesis represents a choice. Because it is a decision that leads us to channel our efforts into a research problem; it summarizes our academic career and projects the field of work that we have chosen for the future. (…) A thesis offers us the possibility of sketching our future strategy. (…) A thesis (…) is the possibility of closing one chapter and beginning another by recovering a certain way of understanding.”

Editorial, Tram(p)as de la comunicación y la cultura, 2003, as cited in Enghel

interactive sound tutorials

Am starting to think I may be a little ambitious with my vision of creating a sonic browser like interface, (over-estimating possibilities? me…!??) but this seems to be a website full of tantalising tutorials about interactive sound… may have to wait until after I finish my essay though…

Oral History and Documentary

Th concept of oral history was the basis for my research thesis from Contextual studies last year. The thesis was titled, Tall Stories of History; the impacts of mediating community narratives. The basis of my work sprung from these competeing ideas:

“Oral history is the history of the common folk, the minorities, the illiterate, the non-writers because they have not previously been treated historically” (1983, John Bury)
In response;
“It is that, but not only that, nor even especially that. It is the account of all people in their own words.”
(Willa Baum, 1983).

I looked at the effect of mediatising community narratives on things like identity- building of identity and the reduction of it through media towards essentialism, power and the subaltern. My central argument was that

… Recording oral narratives of identity is an accessible and participatory form of resistance and recovery; that it involves cultural teaching, learning and sharing while promoting diversity, unity, affirmation and empowerment. [The essay] will explore the power and challenges embedded in telling a story ‘in their own words’ locally, and the challenges it poses to the omnipresent ideologies within external communities.

..and concluded that:

Mediating community narratives where unity, diversity, participation and ownership are emphasised, steers a balance of negotiations within the construction of identity. The impact of recording community narrative is, therefore, is an active construction of local and individual identity that ‘we tell of ourselves’, as well as challenging and reframing the stories ‘others tell of us’.

In many ways, the project for 2008 is about how to put all those fantastic things into practice, while avoiding situations where constructed narratives or identities are essentialised or colonised. Given this previous research though, it is very important to me that these aims are paramount in the construction the documentary. I really hope these aims are now expressed in the abstract.

Abstract, yet again

In seeing a link between his own struggle for human rights and the genocidal persectution against the Jews in Europe, William Cooper, a pioneering Aboriginal rights activist, was the first Australian to lodge a protest with the German Embassy against Kristallnacht.

Media products about William Cooper as a pioneer have previously been written but the family feels no connection to these artifacts since not being consulted.

Cooper’s act of synthesising the struggles for human rights of two previously separate communities of people which has built a relationship between based on a shared experience of trauma and survival, this story of which remains the binding force.

For this narrative to be embraced in documentary form by William Cooper’s family and Jewish communitity members there will need to be pratices which encourage feelings of ownership and involvment so that a synergy of efforts is once again achieved and shared with broader Australian audiences.

Feedback is very welcome!!!

Methodology(ies)

Synergy will draw from the disiplines of radio documentary practice with a specific uses of oral history methodologies. Both methodologies have emphases on initial research phase of secondary sources, followed by a series of qualitative interviews for interpretation alongside other materials towards the construction of a narrative of an event and its repocussions. In later phases, this project will draw primarily on the production values and editing techniques within documentary practice.

This project will also make use of action research to reflect on the sucess and effects of collaborative and inclusive production.

Synergy

I’ve been mulling over the name of the Project over the past few days. I realised that there are link between the content the documentary and the practices I want to explore and they are: cross-cultural collaboration and partnerships towards kinds of activism. Clearly, William Cooper’s act of protest(s) against Jewish persecution was a strong embodyment of these notions, and our cross-cultural partnership in telling this story is also reflective of his aims.
When I wrote the initial proposal I had to come up with a working title, which was ‘In the Wake of Genocide’ though I wasn’t all that comfortable with the limits it set.
Looking for words around the theme of collaboration I came across ’synergy’ which means “the interaction of two or more agents or forces so that their combined effect is greater than the sum of their individual effects, OR,
Cooperative interaction among groups that creates an enhanced combined effect.”
I think I have a new working title…